Iain MacKenzie

In the context of a new global order where the logic of the market reigns virtually unopposed, there is a need for thinking that might reinvigorate a progressive political project. This collection of essays brings together the work of a number of leading scholars who are concerned to construct a convincing basis for incisive criticism. These contributors represent such contemporary critical perspectives as egalitarian liberalism, socialism, poststructuralism, psychoanalysis, hermeneutics and critical theory.

I take it that (1) the central problem of political philosophy is how to deploy philosophy in the criticism and direction of practice. This paper maps out the basic terrain of the relationship between (A) neo?Kantian Critical Theory (for example, Jürgen Habermas), (B) hermeneutics (for example, Charles Taylor) and (C) constructivism (for example, Gilles Deleuze and Felix Guattari). It contends that this central problem (1) is not met by the arguments of (A) and (B) ? these representing what I call ?the communicative turn in political philosophy?. They assume ?democratic dialogue? is its own justification and that from it spring both truth and right. The key objection is that the communication of opinions is not the same as the demonstration of their validity. I argue that (C) may help to take us beyond the failures of (A) and (B).

This paper defends the claim that the critique of ideology requires creative interventions in the symbolic order of society and that those creative interventions must be understood as events. This is what animates the work of both Ricoeur and Deleuze and yet helps to uncover the fundamental difference between them regarding the conditions that make such critique possible: a difference regarding how we understand the nature of events. While Ricoeur is the philosopher of the narrated event, Deleuze is the philosopher of the dramatic event. Instead of pursuing a point-by-point comparison of their respective philosophies of the event, a line of social and political inquiry is constructed that leads from Ricoeur to Deleuze with a view to establishing at what point these two thinkers take different paths. It will be argued that the crossroads is rather neatly signposted by Meillassoux’s critique of strong correlationism in  After Finitude . &nbsp

The aim of this article is to give an account of a methodological link between drama and political theory. This account is drawn primarily from the early philosophical work of Deleuze. Following Deleuze, we will refer to it as ‘the method of dramatization’. We will argue that dramatization is a method aimed at determining the quality of political concepts by ‘bringing them to life’, in the way that dramatic performances bring to life the characters and themes of a play-script. We demonstrate that this can be specified in relation to the development of this method in Deleuze's early philosophical work as a practical, critical and artistic method and, in relation to the ontological assumptions he articulated and defended in Difference and Repetition, as a process of intensification of the Idea of the political. By way of example, we discuss how the dramatization of the concept of ideology functions in Deleuze and Guattari's Anti-Oedipus and A Thousand Plateaus. We conclude with some lines of inquiry that could be pursued by political theorists looking to investigate further the dramatic nature of method in political theory.